Unquiet Mind: Production Gallery

In this photo from Script Coordinator Emily Thomas, the crew gets ready to film the scene where the FBI digs up Theo Halfmoon's remains.

It's not a shoot without an official clapboard!

On a show like Longmire, the locations are a vital part of the story. Scouting for the perfect spot is hugely important.

The location scouts head up into the woods to find the perfect piece of mountain for Walt to conquer.

Much of the episode was shot on a ski slope in Red River, NM.

Emily Thomas, Script Coordinator: "For many shots, we had to climb up a very steep ski cliff, using a rope to steady ourselves. Most of the crew was successful in digging out 'seats' in the snow, which helped to make the process as comfortable as possible, but as you can imagine, we were still freezing!"

Emily Thomas, Script Coordinator: "Our awesome crafty guy, Shaun, climbed up the mountain to bring us food, since we were up there for hours. What a trooper!"

Steve LaPorte, Special Makeup Effects Artist & Designer: "For the 'Icy' look on Wayne and Walt, Dept. Hd. Makeup Artist, Blair Leonard and I used a water expanding powder to simulate frost and ice. This was applied using a sticky gel to the facial hair and skin. Redness was added to give a flush look."

Steve LaPorte, Special Makeup Effects Artist & Designer: "With Wayne, (Dan Hildebrand) I had a full scleral contact lens made for his 'Blind Eye' look. In addition he also wore a fogged lens in his other eye for his final 'Frozen' makeup."

Daniela Moore, Costume Designer: "When I read the script for Episode 201, I knew it was going to be a challenge to not only keep our actors warm in the cold temperatures, but especially to make Walt look as miserable as he had to be without killing Robert Taylor! We knew that regular thermal underwear was not going to cut it, so we got him a Lavacore suit."

Daniela Moore, Costume Designer: "The real challenge was how to make his coat look like it had gotten wet, then frozen almost solid on his hike up the mountain. To get the look right, we took a scrap of sheepskin, soaked it in water and left it in the freezer. When it was frozen solid we knew what our 'look' needed to be."

Daniela Moore, Costume Designer: "Then our Ager/Dyer Wynema Chavez took that sample and re-created it by painting a glossy gel on the coat and then heated it up to create an icy effect. It was then airbrushed with a dulling spray in areas and sanded to blend the edges."

Dave Blass, Production Designer (via Hipstamatic): "Day one found us trekking up the slopes in Red River trying to find the spots where the mine would be at the end of the episode. We found some great areas near a ski area, but quickly realized that we had to be more remote, so we went from the nice ski lift to huffing it up the slopes."

Dave Blass, Production Designer (via Hipstamatic): "We knew that the weather may or may not work with us. When we came back in 3 weeks, would there still be snow? Or would we end up having to bring in our own? To hedge our bets, we kept going higher and deeper into the woods."

Dave Blass, Production Designer (via Hipstamatic): "When we're scouting for the right location, we sometimes have to use our 'Cinematic Immunity' and cross some boarders."

Dave Blass, Production Designer: "We finally found an amazing spot for the mine on the top of the mountain, and our construction crew went to work building the set."

Dave Blass, Production Designer: "Once we had the mine area, we had to find all the places where Walt would trek to on his epic journey up the mountain AND we had to find our other main character: the massive Snowcat."

Dave Blass, Production Designer (via Hipstamatic): "We checked out 8-10 vehicles before settling on this massive beast, that was just so huge and scary that just being around it made you feel the massive steel tracks and huge blade crushing you. Such a fun toy."

Dave Blass, Production Designer (via Hipstamatic): "From there we went on to scout the rest of the locations, some of which were two hours away. A crazy dead tree proved to be the right pace to find Theo's body..."

Dave Blass, Production Designer: "...and a abandoned turquoise mine was found to work great for the interior shots of the mountaintop mine, which were shot days apart from the scenes where Walt walks into the mine on the mountain."

Dave Blass, Production Designer: "Last stop, a remote diner and we are ready for filming! Only 12 more of these to get ready for..."